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aleks sierz

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Bio
Aleks is author of In-Yer-Face Theatre and Rewriting the Nation, co-editor of theatreVOICE website, and works as a journalist, broadcaster and theatre critic at large.

Articles By Aleks Sierz

An Evening with an Immigrant, Bridge Theatre review – poetic and engaging

Friday, 25 September 2020 Read more...

Blindness, Donmar Warehouse review - a beautifully haunting parable

Monday, 10 August 2020 Read more...

Scrounger, Finborough Theatre online review – autobiography meets meta-theatre

Tuesday, 04 August 2020 Read more...

My White Best Friend (And Other Letters Left Unsaid), Royal Court review – raw but generous

Wednesday, 22 July 2020 Read more...

Les Blancs, National Theatre at Home review – triumphant revival of forgotten classic

Friday, 03 July 2020 Read more...

Reasons To Be Cheerful, Graeae review - raunchy working-class nostalgia

Wednesday, 10 June 2020 Read more...

A Streetcar Named Desire, National Theatre at Home review - world on fire

Friday, 22 May 2020 Read more...

Midnight Your Time, Donmar Warehouse online review – intimate and quietly moving

Thursday, 14 May 2020 Read more...

Frankenstein, National Theatre at Home review – creature discomforts

Saturday, 02 May 2020 Read more...

#aiww: The Arrest of Ai Weiwei, Hampstead Theatre online review – imbued with an urgent new relevance

Tuesday, 28 April 2020 Read more...

Wise Children, BBC online review – beautifully bizarre

Tuesday, 14 April 2020 Read more...

Gators, Tramp Productions online review - the glittering dark

Thursday, 09 April 2020 Read more...

It’s True, It’s True, It’s True, Breach Theatre online review – a riveting watch

Tuesday, 07 April 2020 Read more...

One Man, Two Guvnors, National Theatre at Home review – bliss, utter comic bliss

Saturday, 04 April 2020 Read more...

The Croft, Original Theatre online review – give me the remote

Tuesday, 31 March 2020 Read more...

Sondheim at 90 Songs: 4 - 'America'

Thursday, 26 March 2020 Read more...

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'We are bowled over!' Thank you for your messages... ...
Weilerstein, NYO2, Payare / Dueñas, Malofeev, Edinburgh Inte...

NYO2 is a group of dazzlingly talented (and terrifyingly young-looking) 14-17 year olds from the USA, one of Carnegie Hall’s three national youth...

Edinburgh Fringe 2025 reviews - Monstering the Rocketman by...

Monstering the Rocketman by Henry Naylor, Pleasance Dome ★★...

theartsdesk Q&A: filmmaker Dag Johan Haugerud on sex, lo...

"First love is always both terrible and wonderful at the same time", says the 60-year-Norwegian dramatist-novelist-director...

Oslo Stories Trilogy: Dreams review - love lessons

Rising temperatures, prickling skin, longing’s all-consuming ache: first love’s swooning symptoms overtake 17-year-old Johanne (Ella Øverbye) in...

Album: Black Honey - Soak

The default setting for Brighton indie quartet Black Honey...

Káťa Kabanová, Glyndebourne review - emotional concentration...

Even more perhaps than straight theatre, opera seems to draw attention to the meaning behind what may on the face of it appear a simple story....

The Count of Monte Cristo, U&Drama review - silly telly...

Alexandre Dumas’ novel has been filmed an immeasurable number of times (there was a new French version only last year) and...

Edinburgh Fringe 2025 reviews: Lost Lear / Consumed

Lost Lear, Traverse Theatre ★★★...

Edinburgh Fringe 2025 reviews - Alison Spittle / Christopher...

Alison Spittle, Monkey Barrel ★★★

Alison Spittle is fat, she tells us at the top of the show. But not as...